书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝
收传印记：画图留与人看

题跋资料:

题跋类别：作者款识；作者：华嵒；题跋位置：本幅；款识：黄油纸繖日边遮。中酒锺馗纱帽斜。醉眼也随蜂蝶去。小西园里闹群花。新罗山人华喦。写于绿筠小阁。；书体：行楷书；全文： 印记：志在嵩山洛水、秋岳、华喦

主题:

主要主题：经史‧故事 午日锺馗主要主题：佛道人物锺馗 主要主题：佛道人物鬼怪 ；次要主题：山水奇石 ；次要主题：树木杨柳 ；其他主题：花草蜀葵 ；其他主题：草虫蝶蛾 ；其他主题：果蔬石榴 ；其他主题：器用伞 ；其他主题：器用饮食器棕子、蒜；其他主题：器用家俱（屏风）桌、椅；其他主题：建筑池水 ；其他主题：花草 草

技法:

写意 人物衣纹描法(粗细线条) 苔点 皴法 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2224 收藏着录： 故宫书画录（卷五），第三册，页555 收藏着录： 故宫书画图录，第十一册，页151-152 参考书目： 1.刘芳如，〈清华喦午日锺馗〉，收入国立故宫博物院编辑委员会编，《迎岁集福 — 院藏锺馗名画特展》（台北：国立故宫博物院，1997年二月初版一刷），页158-159。2.刘芳如；〈华喦午日锺馗〉，《华喦写生册》（台北：国立故宫博物院，2012年七月初版），页102-103。 内容简介（中文）： 华喦（西元一六八二－一七五六年），福建上杭人。字秋岳，号新罗山人。初寓杭州，后客居扬州鬻画。兼善人物、山水、花鸟、草虫，脱去时习，力追古法。 本幅画榴花倚石，杨柳清池。锺馗乌帽绿袍，据椅适坐，兀自品赏锦葵争艳。身后案上，复设有果、酒、香粽等物。随侍五鬼，一张破伞障日，一捧酒樽，一簪花于首。一则窃盘中庐橘而欲藏之腋下，另一鬼察觉，以左手攫去其巾，右手拳击其顶。窃鬼缩颈吐舌，作惊怖之状。通幅集故事性、趣味性于一纸，令观者忍俊不禁。 内容简介（中文）： 北宋沈括记唐太宗病中曾梦武举落第之士锺馗，为其捉鬼，醒后病除。唐代起盛行岁除时节悬挂锺馗图像驱邪避煞，明清时期此项风俗更扩及端午节庆。本幅锺馗乌帽绿袍，品赏锦葵，身后案上设有果、酒、香粽等物。随侍五鬼，其中一鬼窃橘欲藏腋下，另一鬼察觉。整幅兼具故事性与趣味性。作者华喦（西元一六八二－一七五六年），福建上杭人。字秋岳，号新罗山人。初寓杭州，后客居扬州鬻画。(20091016) 内容简介（英文）： In the early Song, Shen Gua told of the unsuccessful military exam candidate Zhong Kui visiting the Tang emperor Taizong in his dream while ill, capturing demons and curing him. In the Tang it was popular to hang column images of Zhong Kui to expel demons and avert calamity. Later in the Ming and Qing, the custom spread to the Dragon Boat Festival. Here Zhong Kui wears a dark green cap and admires mallow blossoms. Fruit, wine, and dumplings are on the table behind him. Of the 5 demons, one has pilfered an orange under his arm, only to be discovered by another. This interesting work thus has a strong narrative quality. Hua Yan was a native of Shanghang, Fujian. He first lived in Hangzhou, later residing in Yangzhou to sell paintings.(20091016) 内容简介（英文）： Chung K’uei on the Double Fifth Hua Yen (1682-1756) Ch’ing Dynasty Hua Yen (style name Ch’iu-yüeh and sobriquet Hsin-luo shan-jen) was a native of Shang-hang, Fukien. He moved from Hangchou to Yangchou and made a living selling paintings. He excelled at figures, landscape, birds-and-flowers, and grasses-and-insects, rejecting contemporary manners in a search for ancient methods. In this painting is a scene with pomegranate blossoms, decorative rocks, and a willow by a cool pond. Chung K’uei is shown wearing a dark cap and a light green robe as he leans back on a low chair appreciating the beautiful scenery. On the table behind him are fruit, whine, rice dumplings, and other objects. Five demons are in attendance; one holds a tattered parasol against the sun, one in front brings a bowl of wine, and another wears a dark robe with a flower in his cap and is looking at something to his right. A darker-skinned demon has taken some fruit from the table and hid them under his arm. Having been caught by the demon behind, his cap has been removed and his head rapped suddenly. Surprised, he shirks in response with mouth agape and shoulders hunched. This interesting diversion adds to the narrative and provides comic relief to the more serious figure of Chung K’uei.